HaberkipThe photographer regrets the passivity of a society that does not demand a journalism asset Presents exposure in the Home and Mediterranean migratory moveme

Gervasio Sánchez, in the struggle for critical consciousness

The photographer regrets the passivity of a society that does not demand a journalism asset Presents exposure in the Home and Mediterranean migratory moveme

The photographer regrets the passivity of a society that does not demand a journalism asset

Presents exposure in the Home and Mediterranean migratory movements

Active in his commitment to the disclosure of the injustices becomes Gervasio Sánchez to Alicante. House Mediterranean welcomes its exposure Geography of the Exodus, where he summarizes his more recent work on migration.

In two years, the well known photojournalist has visited the city three times, an assiduity which contrasts with their prolonged absence of eighteen years. He jokes about it, knowing that you are appreciating their work. In February he participated in a conference in the centre, and there emerged the proposal to make this photographic exhibition. Are sixteen images captured off the coast of libyan and in the Balkans in these last three years.

The movement of refugees are the protagonists of these images in large format. To choose has had a lot of material to choose from. He speaks of forty-five days working non-stop in the borders to capture, for example, the peaks of ten thousand people that went in in November of 2015, seeking refuge from the war. "I moved in the car and I was in a car for the Slovenia, Croatia, Bosnia, Serbia, Macedonia, and Greece to the border with Turkey," he recalls of that fall. Your claim now, to summarize all those miles and stories that it was found in sixteen tarps, "is that the people seeing them understand a little better what is going on."

The exhibition brings together sixteen images taken in the last three years. MANUEL LORENZO

at the word easy, the desire teaching that contextualizes the photographs through lectures and texts is a constant of yours. "My luck is that I did journalism and I write every day, for that explanation I do", he says. And considered basic to that work because, "if you start to put the images without context because people are not going to understand anything. It is not that easy to explain or summarize your work but I'm used to because I try to the people to understand as best as possible".

That concern on the release comes by his concern with what happens. "What is there to do in these moments is to go to the institutes to tell the students the contemporary world," he says. Your idea would be "to remove them from classrooms when in a while, put them in a room and inundarles with pictures in context to tell you that it is stupid to see a person of another culture and getting caught immediately by prejudice. Almost always these people are trapped in situations of dire poverty and endemic warfare. If you will be in the same place, would you do the same."

young people see not only "future voters", also "to the future leaders and directors of companies that systematically violate the human rights, of the Spanish companies that here have speeches very nice and when they get to Africa, engaged in corrupt governments". Before getting to that dark future wants to show the harshness of reality because "to adults because the I lost." What the cause of this? "They have not been able to understand or to pressure the press to exercise a critical journalism and that's why we've lost the train of the story. We are easily manipulable". Hence, their purpose is to "try by all means that students grow up with a critical sense of the life. And that's why I like doing this job teaching with my images and words".

And what about the press?

Always ready to denounce the problems in your profession, now is more. "What worries me intensely is that Trump wins and neither the american press nor the european learn anything," he says. And this same perspective we brought to Spain. "In 2016, Vox had, for example, in a population of almería six votes and are now almost two thousand. That concerns me." That's why it asks where are the media. "What has happened with the Spanish press during the elections in andalusia? Have not heard anything."

And the cause of this is clear: "journalists are warming up a seat in front of computers and they think that to inform is to tweet or send pocket by whatsapp or climb steps in order to have a greater position. That is the problem."

As serious as he sees him says "if I were director of a medium of communication in Spain, the day after the elections in andalusia have asked responsibilities and thrown into the street, or at least they would have removed the address of the sections. How is it possible that there is a vote hidden in Andalusia which is multiplying in an impressive manner to a force of the extreme right without anyone knowing about it?".

And in the overview of the political situation, has for all. "The PSOE is a party hemmed in ideologically for decades and is a party dedicated to maintaining the vow of patronage. As it has done the PP in Valencia or Galicia, convergence and union (i Joined in Catalonia and the PNV in the Basque Country". These scandals are believed to have caused the "the people have been infuriated to the point that it has voted to the party more alternative, which, unfortunately, is the most extreme."

One of their white common in the criticism of the state of the media is the profusion "of columnists who speak ex cáthedra and are dedicated to assess the reality without any kind of contribution because the important thing is the name." With all this, he concludes, "I was seriously concerned that a society like the Spanish, without good journalism is doomed to manipulation."